21 research outputs found
Phasook Indrawooth (10 May 1945 â 7 September 2016)
Professor Emerita of Archaeology, Phasook Indrawooth, passed away peacefully on 7 September 2016 at the age of 72 in Bangkok, Thailand. She joined her husband, who had died a few years earlier. The second of six daughters, Phasook Indrawooth was born on 10May 1945. She became fascinated by Buddhism through her father, Major General Dej Tulwantana, who wrote a book entitled Buddhism: An Intellectual Approach. Having made a significant contribution to the archaeology of DvÄravatÄŦ, an early Buddhist state that formed in central Thailand, Phasook Indrawooth went on to become a very distinguished professor and a leading archaeologist in Thailand and Southeast Asia. Indeed, her work has had a profound impact on the archaeology of Thailand as a whole
A Late Pleistocene woman from Tham Lod, Thailand: The influence of today on a face from the past
Creating a facial appearance for individuals from the distant past is often highly problematic, even when verified methods are used. This is especially so in the case of non-European individuals, as the reference populations used to estimate the face tend to be heavily biased towards the average facial variation of recent people of European descent. To evaluate the problem, a facial approximation of a young woman from the Late Pleistocene rockshelter of Tham Lod in north-western Thailand was compared against the average facial variation of datasets from recent populations. The analysis indicated that the Tham Lod facial approximation was neither overtly recent in facial morphology, nor overtly European. The case is of particular interest as the Tham Lod individual probably belonged to a population ancestral to extant Australo-Melanesian peoples
Forager mobility organization in seasonal tropical environments: A view from Lang Kamnan Cave, western Thailand.
Recent progress towards understanding forager mobility has focused primarily on foragers in arctic, boreal, temperate, and arid tropical environments. In contrast, little research has been done on mobility and related organizational processes in humid tropical environments, which are complex and highly diverse ecosystems. Tropical environments are not all alike, and can be quite different from the seasonally unchanging environments archaeologists often assume them to be. In addition, much research has focused on collector mobility systems, while we have not as thoroughly explored forager mobility organization. Archaeologists generally assume that residentially organized systems are associated with the tropics. Based on cross-cultural comparisons, this research explores how foragers are mobile in the Southeast Asian seasonal tropics. It concentrates on a specific aspect of a general mobility model, the relationship between seasonality and mobility strategies. The model argues that a residential mobility strategy is associated with the wet season, while a logistical mobility strategy is an organizational response to the dry season. Archaeological data from excavations at Lang Kamnan, a Late and post-Pleistocene cave site in western Thailand, are examined as a case study. Southeast Asian archaeologists refer to this period by the term Hoabinhian. Variability in the Late and post-Pleistocene archaeological record has generally been viewed as the consequence of sequential occupations by different cultures. Evaluation of the mobility model demonstrates how this approach can help us gain insight into the Late and post-Pleistocene cultural systems. The result of detailed analyses from a single site provide insights into task activities, site function, and temporal changes in the composition of material remains. The analyses demonstrate that residential mobility was employed by small groups of foragers using a generalized subsistence technology during the wet season. The archaeological and environmental evidence suggest that the site was occupied sporadically from the Late Pleistocene to the Late Holocene. However, this research has not yet shown archaeologically that a logistical mobility strategy was applied in the dry season. No concrete evidence of dry season occupation was found at the site. Further research must be pursued to completely test the model.Ph.D.ArchaeologySocial SciencesUniversity of Michigan, Horace H. Rackham School of Graduate Studieshttp://deepblue.lib.umich.edu/bitstream/2027.42/129892/2/9635607.pd
āļĄāļēāļāļēāļ(āļāļāļĨāļ°)āļāļēāļāļāđāļēāļāļāļāđāļāļīāļāļāļē. (From (Different) Horizons of Rockshelter).
Corpus PCM (Peuples et Cultures du Monde)Ce documentaire a ÃĐtÃĐ rÃĐalisÃĐ Ã partir dâun carnet de notes de recherche du projet "ArchÃĐologie du haut plateau à Pang Mapha", province de Mae Hong Song (ThaÃŊlande), (Phase 1-2, 2001-2006). Il prÃĐsente lâensemble du processus des travaux archÃĐologiques, qui se fonde, d'une façon objective, sur les preuves du passÃĐ. RÃĐel travail multidisciplinaire, la recherche des racines de lâhomme du haut plateau à l'aide de diverses mÃĐthodes aidant à la reconstitution du passÃĐ - exploration, fouilles, analyse et interprÃĐtation - a ÃĐtÃĐ rÃĐalisÃĐe grÃĒce aux travaux conjoints d'archÃĐologues et dâexperts venant de diffÃĐrentes disciplines. Lâimage interprÃĐtÃĐe de lâhomme, de la sociÃĐtÃĐ et de lâenvironnement ancien, ne repose plus dans les ouvrages ou dans les articles acadÃĐmiques. Partant de cette constatation, les archÃĐologues dÃĐpassent le processus habituel de la recherche scientifique en reliant le passÃĐ Ã la communautÃĐ dâaujourdâhui et crÃĐent, dans cette perspective, le projet "La gestion des ressources archÃĐologiques Ban Rai et Tham Lod, Pang Mapha, Mae Hong Son (2006-2008)". Par la suite, des artistes ont ÃĐtÃĐ invitÃĐs dans les villages et sur les sites archÃĐologiques pour imaginer avec la population locale des Åuvres artistiques. Cette inspiration, qui peut Être comparÃĐe à une conversation entre lâarchÃĐologie et lâesthÃĐtique, a donnÃĐ naissance au Projet âFrom (Different) Horizons of Rockshelterâ : to Break Down the Methodology of Archeology, Phrase in Anthropology and Spirit in Art (2007-2008) â. Ce carnet de notes est ÃĐgalement à lâorigine de lâexposition artistique âFrom (Different) Horizons of Rockshelterâ qui s'est dÃĐroulÃĐe à Ban Rai, Tham Lod, Pang Mapha, Mae Hong Son et s'est terminÃĐe au Princess Maha Chakri Sirindhorn Anthropology Centre et au National Gallery, Bangkok, ThaÃŊlande.āļĄāļēāļāļēāļ (āļāļāļĨāļ°) āļāļēāļāļāđāļēāļāļāļāđāļāļīāļāļāļēāļ āļēāļāļĒāļāļāđāļŠāļēāļĢāļāļāļĩāđāļĢāļ·āđāļāļāļāļĩāđāļāļ·āļāļāļāļāļąāļāļāļķāļāļāļ§āļēāļĄāļāļĢāļāļāļģāļāļēāļāļāļēāļĢāļāļģāļāļēāļāļ§āļīāļāļąāļĒāđāļ āđāļāļĢāļāļāļēāļĢāđāļāļĢāļēāļāļāļāļĩāļāļāļāļ·āđāļāļāļĩāđāļŠāļđāļāđāļāļāļģāđāļ āļāļāļēāļāļĄāļ°āļāđāļē āļāļąāļāļŦāļ§āļąāļāđāļĄāđāļŪāđāļāļāļŠāļāļ (āļĢāļ°āļĒāļ°āļāļĩāđ āđ - āđ : āđāđāđāđ - āđāđāđāđ ) āļāļķāđāļāđāļāļĒāđāļŦāđāđāļŦāđāļāļāļĢāļ°āļāļ§āļāļāļēāļĢāļāļāļāļāļēāļāđāļāļĢāļēāļāļāļāļĩ āđāļĨāļ°āļāļāļāļāļģāļāļēāļĄāļāļĩāđāļāļ·āđāļāļāļĢāļāļāđāļāļŦāļĨāļąāļāļāļēāļāļāļāļāļāļāļĩāļ āđāļĢāļīāđāļĄāļāļēāļāļāļēāļĢāļāļēāļĄāļŦāļēāļĢāļēāļāđāļŦāļāđāļēāļāļ§āļēāļĄāđāļāđāļāļĄāļēāļāļāļāļāļāļāļāļāļ·āđāļāļāļĩāđāļŠāļđāļ - āļŠāļģāļĢāļ§āļ - āļāļļāļāļāđāļ - āļ§āļīāđāļāļĢāļēāļ°āļŦāđ - āļāļĩāļāļ§āļēāļĄ āđāļāļĒāļāļąāļāđāļāļĢāļēāļāļāļāļĩāđāļĨāļ°āļāļąāļĨāļĒāļēāļāļĄāļīāļāļĢāļāļđāđāļĄāļĩāļāļ§āļēāļĄāļĢāļđāđāđāļāļŦāļĨāļēāļāļŦāļĨāļēāļĒāļĻāļēāļŠāļāļĢāđāļāļāļŠāļēāļĄāļēāļĢāļāđāļĢāļĩāļĒāļāļĢāđāļāļĒāđāļŦāđāđāļāļīāļāļ āļēāļāļāļāļāļāļāļĩāļāļāļķāđāļāļāļĩāļāļāļĢāļąāđāļāļ āļēāļāļāļāļāļāļ āļŠāļąāļāļāļĄ āļ§āļąāļāļāļāļĢāļĢāļĄ āđāļĨāļ°āļŠāļīāđāļāđāļ§āļāļĨāđāļāļĄāđāļāļĢāļēāļāļāļĩāđāļāļđāļāđāļāļĨāļāļ§āļēāļĄāļāļķāđāļāļāļąāđāļ āļĄāļīāđāļāđāļāļđāļāļāļīāđāļāđāļŦāđāđāļāđāļāđāļāļĩāļĒāļāļāļģāļĢāļēāļŦāļĢāļ·āļāļāļāļāļ§āļēāļĄāļāļēāļāļ§āļīāļāļēāļāļēāļĢāļāļĩāļāļāđāļāđāļ āđāļāđāļāļąāļāđāļāļĢāļēāļāļāļāļĩāđāļāđāļāđāļēāļ§āļāđāļēāļĄāļāļāļāđāļāļāļāļāļāļāļĢāļ°āļāļ§āļāļāļēāļĢāļ§āļīāļāļąāļĒ āļŠāļđāđāļāļēāļĢāđāļāļ·āđāļāļĄāđāļĒāļāļāļāļĩāļāļāļąāļāļāļĩāļ§āļīāļāđāļĨāļ°āļāļļāļĄāļāļāļāļąāļāļāļļāļāļąāļ āđāļāļīāļāđāļāđāļ āđāļāļĢāļāļāļēāļĢāļāļąāļāļāļēāļĢāđāļŦāļĨāđāļāđāļāļĢāļēāļāļāļāļĩāđāļāļīāļāļāļēāļāđāļēāļāđāļĢāđāđāļĨāļ°āđāļāļīāļāļāļēāļāđāļģāļĨāļāļāđāļāļāļģāđāļ āļāļāļēāļāļĄāļ°āļāđāļē āļāļąāļāļŦāļ§āļąāļāđāļĄāđāļŪāđāļāļāļŠāļāļ (āļāļĻ. āđāđāđāđ â āđāđāđāđ) āđāļĨāļ°āļāļĨāļēāļĒāļāļģāđāļāļāļ§āļīāļāļēāļāļēāļĢāđāļāļĒāļāļēāļĢāđāļāļ·āđāļāđāļāļīāļāļĻāļīāļĨāļāļīāļāļŦāļĨāļēāļĒāļāđāļēāļāđāļāļīāļāļāļēāļāļŠāļđāđāļāļļāļĄāļāļāđāļĨāļ°āđāļŦāļĨāđāļāđāļāļĢāļēāļāļāļāļĩāđāļāļīāļāļāļēāļāđāļģāļĨāļāļāđāļāļāļģāđāļ āļāļāļēāļāļĄāļ°āļāđāļē āļāļąāļāļŦāļ§āļąāļāđāļĄāđāļŪāļāļāļŠāļāļ āđāļāļ·āđāļāļāđāļāļĒāļāļāļāļĨāļāļēāļāļ§āļīāļāļąāļĒāļāļĩāđāļŠāļ°āļāđāļāļāļ§āļąāļāļāļļāļāļēāļāļ§āļąāļāļāļāļĢāļĢāļĄāļāļąāļāđāļāđāļāļāļĢāļ°āļāđāļēāļāļāđāļēāļāļāļīāļāļāļāļēāļāļēāļĢāļāļāļāļĻāļīāļĨāļāļīāļāđāļĨāļ°āļāļēāļ§āļāđāļēāļ āļāļāđāļāļīāļāđāļāđāļāļāļēāļāļĻāļīāļĨāļāļ° āđāļāļĢāļĩāļĒāļāđāļŠāļĄāļ·āļāļāļāļāļŠāļāļāļāļēāļĢāļ°āļŦāļ§āđāļēāļāļĻāļēāļŠāļāļĢāđāđāļāļĢāļēāļāļāļāļĩāđāļĨāļ°āļŠāļļāļāļāļĢāļĩāļĒāļ°āļāļēāļāļĻāļīāļĨāļāļ° āļ āļēāļĒāđāļāđāļāļ·āđāļ āđāļāļĢāļāļāļēāļĢāļĄāļēāļāļēāļ ( āļāļāļĨāļ° ) āļāļēāļāļāđāļēāļāļāļāđāļāļīāļāļāļē : āļŠāļđāđāļāļēāļĢāļāļĨāļēāļĒāđāļŠāđāļāđāļāđāļāļāļāļāļ§āļīāļāļĩāļ§āļīāļāļĒāļēāļāļēāļāđāļāļĢāļēāļāļāļāļĩ āļ§āļĨāļĩāđāļāļĄāļēāļāļļāļĐāļĒāļ§āļīāļāļĒāļē āđāļĨāļ°āļĄāļēāļĒāļēāđāļāļĻāļīāļĨāļāļāļĢāļĢāļĄ ( āļāļĻ. āđāđāđāđ - āđāđāđāđ)āļāļāļāļąāļāļāļķāļāļāļ§āļēāļĄāļāļĢāļāļāļģāļāļĩāđāđāļāđāļāļāļķāļāđāļāđāļāļāļĩāđāļĄāļēāļāļāļāļāļēāļĢāļāļąāļāļāļīāļāļĢāļĢāļĻāļāļēāļĢāļĻāļīāļĨāļāļ° âāļĄāļēāļāļēāļ(āļāļāļĨāļ°)āļāļēāļāļāđāļēāļāļāļāđāļāļīāļāļāļē â āļ āļāđāļāļāļāļļāđāļāđāļĨāļ°āđāļāļīāļāļāļēāļāļāļāļāđāļēāļāļāđāļģāļĨāļāļ - āļāđāļēāļāđāļĢāđ āļāļģāđāļ āļāļāļēāļāļĄāļ°āļāđāļē āļāļąāļāļŦāļ§āļąāļāđāļĄāđāļŪāđāļāļāļŠāļāļ āļāđāļāļāļāļ°āđāļāļĨāļ·āđāļāļāļĒāđāļēāļĒāļāļĨāļāļēāļāļĄāļēāļāļąāļāđāļŠāļāļāļāļĩāļāļāļĢāļąāđāļ āļ āļĻāļđāļāļĒāđāļĄāļēāļāļļāļĐāļĒāļ§āļīāļāļĒāļēāļŠāļīāļĢāļīāļāļĢ āđāļĨāļ°āļāļīāļāļīāļāļ āļąāļāļāļŠāļāļēāļāđāļŦāđāļāļāļēāļāļī āļŦāļāļĻāļīāļĨāļāđ āļāļĢāļļāļāđāļāļāļĄāļŦāļēāļāļāļĢāļāļĩāļĄāļāļēāļāļŠāļēāļĢāļāļāļĩāļāļđāđāļāļģāļāļ§āļĒāļāļēāļĢāļŠāļĢāđāļēāļ : āļĢāļąāļĻāļĄāļĩ āļāļđāļāļĢāļāđāļāļ | āļāļđāđāļāļģāļāļąāļ : āļĻāļļāļ āļĢ āļāļđāļāļĢāļāđāļāļ | āļāļąāļāļāđāļ : āļĻāļļāļ āđāļāļ āļĢāļąāļāļŠāļĩāļĒāļ§āļąāļāļāđ | āļāļāļŠāļēāļĢāļāļāļĩ : āļāļļāļāļāļĢāļĩ āđāļāđāļāđāļ , āļĻāļīāļĢāļīāļĨāļąāļāļĐāļāđ āļāļąāļāļāļĻāļĢāļĩ āđāļĨāļ°āļāļĨ āđāļāļāļāļĢāļ°āļ āļēāļāļąāļāļāđ | āļāļ§āļāļāļļāļĄāļāļēāļĢāļāļąāļāļāļķāļāđāļŠāļĩāļĒāļ : āļāļēāļāļąāļāļāđ āļāļēāļāļāļ | āļāļāļāļĢāļĩāļāļĢāļ°āļāļāļāđāļĨāļ°āđāļāļĩāļĒāđāļ : āļāđāļāļāļąāļĒ āļāļīāļāļīāļāļ | āļāļąāļāļāļķāļāđāļŠāļĩāļĒāļāļāļĢāļĢāļĒāļēāļĒ āļāļāļĐāđāļĻāļąāļāļāļīāđ āđāļāļēāļŦāļāļĄ | āđāļŠāļĩāļĒāļāļāļĢāļĢāļĒāļēāļĒ : āļāļąāļāļāļĢāļē āļŠāļĢāđāļāļĒāļĢāļļāđāļāđāļĢāļ·āļāļ | āđāļāļ·āđāļāđāļāļ·āđāļāļ āļēāļ : John Spie